VERBAL holds a unique position within both the entertainment industry and popular
culture in Japan. The huge fame he achieved in his role as m-flo’s MC has been
followed by 5 years of his own creative projects which have gone on to inspire a
generation of Japanese (and K-pop stars) alike. On the huge commercial stage that is
the Japanese media you have Verbal’s roles musically in m-flo and the z, as A TV
personality on variety shows and as a style icon appearing on the cover of fashion
magazines month after month. Yet VERBAL is also a main player on a secondary stage
of fashion and youth culture, a place where genres meet and trends are set away from
the media glare. In Japan this second stage may be smaller than the first but it’s
influence is global in its reach. VERBAL is the only person who plays roles on each
stage. I feel his position is best demonstrated through the close friendships he has
forged with the likes of Kanye West and Kim Jones – relationships built on mutual
respect. As honeyee.com CEO Tetsuya Suzuki told me last year, ‘VERBAL is this
generations most important opinion leader’, and if anyone knows what they’re talking
about it’s Suzuki-san.

Having had the opportunity to work with VERBAL we ourselves have been inspired by
the hands on nature he and YOON take with each and every project. These are personal
creative endeavors that just happen to be on a bigger scale due to VERBAL’s
cross-over appeal. From having an innate interest and understanding as to what’s
happening in Tokyo, VERBAL has used his influence to shine a light on up-coming
Creatives. This has included launching Mademoiselle Yulia through his agency KOZM,
Commissioning young designers such as runurunu, ilil and Garter to make stage
Costumes, involving underground DJ’s in large-scale events and introducing friend
Pharrell Williams to the Trippple Nippples being just a few of the examples of how
VERBAL’s used his influence for the greater good. When VERBAL agreed to DJ at our
own 1st Anniversary party back in 2009 we were so happy as we knew that his being
there would take it to another level. VERBAL has the ability to take things to the
next level.

We sat down with VERBAL to talk about all this and more as he returns to m-flo and
where it all began with the release of new album ‘SQUARE ONE’.

TOKYO DANDY – It’s been 5 years since m-flo’s last studio album, can you give us a run down of what you’ve done in that time?

VERBAL -Well 5 years ago, with music and fashion, there was a point of conversion
where people from different fields and genres kind of got bored with what they were
doing and were looking for something new. I’m not from the fashion field but I think
at that time it got exciting and there was a merging of worlds. Like how you’ve
documented with Tokyo Dandy. There were lots of parties and lots of great energy in
Tokyo. Around that time I started a brand called AMBUSH® which got me busy in that
realm, and I started DJing which was another outlet for my creativity musically. So
the past few years asides from m-flo have been a personal expression of my
creativity within music and within fashion. It’s kept me busy.

VERBAL – Taku produced the tracks, and when we wrote the songs together this time,
the biggest difference between this album and the previous ones is the fact that the
whole of the music industry and the economical climate has changed. Now CDs don’t
sell. I don’t care what people say, you can be the best musician there is, you can
spend loads on promotion with trucks rolling round Shibuya. But CDs just don’t sell
as they used too. I kind of look at this as an advantage. Before, when CDs sold,
Japan had the second biggest market for CD sales. Because of that an island
mentality developed where the Japanese industry saw no need to go global as there
was so much money to be made here in Japan. J-pop evolved separately from the rest
of the world and was different both in it’s mentality and musicality. As m-flo we
were always inspired by both Japanese and foreign artists but our output had to be
somewhat adapted to the Japanese way of things. The industry is totally different
now. We don’t have to worry about things like ‘Do we need more English lyrics?’ ‘Do
we need more Japanese lyrics?’. For the new album we just did what we wanted to do
without thinking about it, which is how we debuted. We weren’t really thinking about
anything we just put out a couple of tracks and it caught fire. So the title,
‘SQUARE ONE’, it’s how we’ve gone back to how we used to do things, we’ve evolved
over the years but this is honest. This is what Taku would do for himself as remix
tracks to play on the club floor. It’s not necessarily to sell it’s just something
he’s made for fun. When I rap I’m not taking about seishun or sakura kind of thing
I’m just talking about whatever the hell I would talk about with friends. The whole
station has been a catalyst for us to be able to do what we really want to do on a
big level.

TD – On twitter @MrBittermelon has asked if you and Taku have any plans on putting on a show in the states, Cecilia (@La_Cess) has asked when you are going to see her in Paris, @Mika_Vi Mika has asked when you guys are coming to Europe, @zawawa927 has asked if you’re coming to Nagoya, basically, is this album getting a tour?

V – We’re going to do. From May 26th at Makuhari Messe, we’re going to be in Nagoya,
Fukuoka, a lot of the major cities. We would like to go overseas, I’ve been through
Asia myself DJing, in Paris and London too. We’d love to bring the m-flo set
overseas. In the past we’ve had the m-flo loves shows with all the artists we’ve
featured and it’s only possible to do that kind of show in Tokyo. Now we’re trying
create a set that utilizes new technology such as the 3-D mapping I have access too
to create a set that’s more of a DJ set/live show. We’ll be more capable of moving
around and doing different kind of things. We’d like to go overseas of course but we
don’t have any plans to do so right now.

TD – Your style has changed a lot from when you first start out. Did you get a new stylist or is it just because you can afford better clothes now?

V – Both (laughs). Like how when I was talking about music, about how we had to
adapt to a certain way, the Japanese music industry was set-up so that you had to
also look a certain way to fit your genre. Your hair had to be a certain way. If you
were a hip-hop artist you had to be down with this person, and this look/brand etc.
The Japanese hierarchy system, there’s are lots of good things, but there are also
lot of unnecessary things that just cause waste. Such as with styling. I’ve had many
good stylists but I always knew what I wanted to wear. The stylists would bring
stuff that I already had or had even better things at home. YOON styles me now, she
knows what I want to wear. I used to say to the label, ‘Can’t I just get the budget
and do it myself?’ and they’d respond with, ‘no, that’s rude and offensive for our
in-house stylists’ and I’d tell them ‘It’s rude and offensive to pay money for me to
look stupid’. Eventually I broke the system and we do it all ourselves. So just like
with the music, I get to do what I want.

TD – Artists and personalities in the entertainment industry here in Japan have
little creative control over their micro-managed careers. On the other hand, you’ve
achieved a level of creative freedom more commonly associated with foreign artists. How or why do you think you’ve been able to do this?

V – From the get go our style of music was very foreign to the Japanese industry.
You had a Colombian Japanese girl Lisa, Japanese producer Taku Takahashi and then
me, a 3rd generation Korean called VERBAL rapping in English and Japanese. We didn’t
sound like anything else out there. We were unique and the record company didn’t
know how to handle us or promote us. There was none of the traditional ‘OK let’s do
a tie-up with this thing and let it sell’. They always had to be creative in how to
market us. This meant we got to work with people who were very passionate in what
they do. We were involved in that process because they had to ask us about what was
coming next. No one was telling us how to be, they were asking us how things are,
and we became autonomous because I always had to drive what we were doing. After
Lisa left, and lets face it, when the lead vocalist leaves your group you’re usually
pretty much done – we started on the m-flo loves project. We saw people in the
States featuring each other on tracks and thought why not bring that to Japan. At
first he label thought is was weird, like an omnibus album and not m-flo. It took us
a long time for them to be OK with it and once it was done and sold a lot the label
was happy. Now everyone is featuring everyone else on their tracks. Before we did it
nobody else really did that in japan, especially inter-label. We just coined the
phrase ‘m-flo Loves’ and it became a new business model. One thing I’ve learned over
the years is that when you’re creative you also have to suggest a business model
alongside your idea because not everyone understands the creative language. You need
to think with both sides of your brain at the same time and be able to convey to a
multitude of industry people what it is you are trying to do and why. They won’t
necessarily listen to some new music and think ‘yeah this sounds like a hit’ they’ll
think ‘this doesn’t song like a hit I’ve heard in the past’ you need to change the
melody’. But we’d be like ‘F’ you we’re going to keep doing it our way’. I mean,
I’ve not been 100% successful, I’ve made mistakes along the way, but in general I’ve
achieved the ability to be able to do things my own way.

TD – I know you enjoy going out a lot, what excites you in Tokyo right now?

V – I just like good company. Regardless of someone’s fame or business success I just
like being around good people. that’s inspirational. In the context of creativity,
what excites me is seeing the evolution of a new scene. Whenever I feel that I want
to be there. I can’t describe what it is, I just have a radar for picking up on
interesting new people and places and what’s happening. of course I have a wide
range of interests but in terms of fashion, I like seeing these new kids sort of try
and do something on their own. That’s why I really respect these Kita Kore kids,
whatever they do, they’re dong their own thing. Regardless of whether it’s right or
to it’s just what they want to do and I really resect that energy. I’m not just a
consumer, not just a fan, if and when it’s appropriate I’m able to hook them up
business wise. I like to get involved in that way when people are setting up things
like new events, labels or internet radio etc. It’s so easy to go online and see how
things are these days but I like to go out and go somewhere new and get bombarded
with new information that was un-foreseen. I don’t want to go somewhere like
Shanghai and have people show me what we already have in Japan, I want to see
something that’s new there. I want to see something new. That’s what drives me. I’m
thirsty for new things all the time.

TD – If your had a friend in town this weekend where would you take them out?

V – There’s this place Teien in Roppongi. Like this old Japanese house, like a big
manor. I think it might be a members bar. I didn’t know that when I first went in I
was just passing by and it looks interesting so I wanted to check it out. Last time
will.i.am was in town I took him out there and he really enjoyed it. That’s my
newest favorite place.

TD – Your style has inspired a whole generation of Japanese kids and beyond and
there are obvious references to both your look and your music throughout K-pop and Asian music in general. Where others have copied you’ve originated a very distinct and unique sense of style, where’s this come form?

V – My roots in hip-hop, the skate scene, and a lot of the Harajuku pioneers. I went
to business school, I am inspired by business men and how they think. Just because
of who I am and how I look even if I wear something chic or mode it will still come
off as kind of street either way. Whether that be the shades I wear or my jewelry. I
used to skate and because of my knowledge and interest I that scene what I were
doesn’t always come across as being particularly hip hop. And it always comes back
to the pioneers. I mean, the way I pose, I got it from Tei Towa, he knows I copied
him. He’s ok with it (laughs). In turn thought, Tei Towa a got that from Tachibana
Hajime from The Plastics, and he got it from Akutagawa Ryūnosuke who’s like this old
writer from the 19th century. I’m just a predecessor of the pose (laughs). And the
sunglass thing, I just really like them, I became a collector and ended up being
‘the sunglasses guy’. Pretty much if you wear sunglasses and jewelry and do this
pose it’s pretty much me.

‘Evolution of a pose’ – From top left – Writer Akutagawa Ryunosuke (1892-1927), Tachibana Hajime (The Plastics), Towa Tei, VERBAL

TD – I’ve tried wearing shades in clubs before, it’s difficult, how do you see around?

V – Well I don’t really walk around clubs wearing sunglasses. Just when you’re
sticking a camera in my face (laughs). No, I only wear sunglasses when I’m DJing.
Not like I’m walking around clubs. And especially not nice sunglasses. Lanvin Way
Shiners are like one of my favorite top 5 sunglasses ever. I’ve lost them at least 6
times in Le Baron and Trump Room but they always come back to me. They’re the
glasses of destiny (laughs). But yeah, I drink too much and lose them so it’s best
not to wear the out.
TD – @JeLaure and @YUTOrepHIROSAKI want to know what shops do you like, where do you do your shopping?

V – YOON pretty much does it. When I buy clothes, I see a pair of shorts or
something and think ‘I don’t need these shorts’ but YOON has this great eye, she can
look at a piece and see a whole outfit. She can visualize something that I otherwise
wouldn’t notice so I usually trust it to YOON.

TD – @daheenxxx asked if you are ever going to release the ‘Black Out’ video?

V – Actually March last year was a dark time. It was pretty emotional. It’s not just
about the fact the timing wasn’t right then, that whole couple of months was rally
scary. For me to release the video would be kind of bringing that time back for me.
Maybe some time in the future the time will be right but for me that’s kind of a
representation of dark times. So not any time soon.

TD – @etsu_asa asked, ‘You have a so many faces, for example, DJ, Singer, Model, Designer, TV Talent…. how would you describe what it is you do?’ I guess, what
would your title be on a business card?

V – Well, I have a few business cards (laughs). Hiroshi Fujiwara once said to me,
when some one had asked him ‘what do you do?’ and I’m are-phrasing here but he said
something along the lines of ‘I can’t really say and I like keeping it that way’ you
know. I mean he does a whole multitude of things and the things I know he is doing
is just the tip of the iceberg of all the stuff he’s doing and has got going on. But
me? I MC, DJ, design. I’m just VERBAL. When you put it all together it just all
makes sense.